Recent posts
ISME 2024 – Facilitating Holistic Musical Identities through Communities of Practice: A Case Study in Studio Pedagogy
CMS-Northwest – From Performer to Pedagogue: Transformative Modalities in Music Studio Teaching
MESA Presentation 2024: Making the most of masterclass
MESA Presentation 2024: Making the most of masterclass Read More »
Ensemble skills for brass musicians – presentation notes
MESA 2023 Presentation: Confronting Perfection in the Teaching Studio
MESA 2023 Presentation: Confronting Perfection in the Teaching Studio Read More »
How to practice – presentation notes
Happy Canada day! A round-up of Canadian music for trumpet
Happy Canada day! A round-up of Canadian music for trumpet Read More »
Labratour 2008 – exploring a surprising history in brass
Labratour 2008 – exploring a surprising history in brass Read More »
Twisted sounds
Point Pelee and Grand Russian Fantasia with Toronto Winds
Reviews
… A true jewel to hear. In excellent collaboration with pianist Vanessa May-lok Lee, Hodgson made these compositions more accessible to anyone who is not yet acquainted with the trumpet as a lyrical classical instrument… Hodgson’s performance of the Hubeau is new, fresh and very original. Hodgson sails through the piece with such ease and understanding… Hodgson, May-lok Lee and Ball have certainly succeeded!
Tomislav Spoljar
Aaron Hodgson’s luxuriant sound and gentle phrasing in a thoroughly effortless presentation of Telemann’s first movement resulted in one of the most moving movements of the competition to this point.
Luis Engelke
In Haydn’s [Concerto in Eb], the young Aaron Hodgson had a very clear attack, a clear articulation, precise trills and a brilliant but always rounded upper register. He has everything to become principal of a major orchestra. [translated from French]
Claude Gingras
Aaron Hodgson’s compelling performances of Aiden Hartery’s the first recitation: The Old Hag and Patrick McGraw’s A Force of Nature for trumpet, electronics and video were notable highlights.
Elisa Kohler
Aaron Hodgson once again brought his exquisite musicianship and assured composure. His playing was clean, executing the great number of difficult passages with control and precision. Aaron tackled the numerous technical passages with agility, demanding a command of
technique that goes well beyond that found in the Herbert L. Clarke’s Technical Studies. When the music called for more lyricism, he delivered with a beautiful singing style. Aaron nimbly brought out the many dance-like figures with sparkling clarity. He also intertwined his trumpet lines with those of the piano very well. His control of the instrument was impressive, as was the highly positive reaction from the audience.